US11217213B2 - Acoustic stringed instrument body with partial taper soundboard recurve - Google Patents

Acoustic stringed instrument body with partial taper soundboard recurve Download PDF

Info

Publication number
US11217213B2
US11217213B2 US17/016,986 US202017016986A US11217213B2 US 11217213 B2 US11217213 B2 US 11217213B2 US 202017016986 A US202017016986 A US 202017016986A US 11217213 B2 US11217213 B2 US 11217213B2
Authority
US
United States
Prior art keywords
soundboard
recurve
musical instrument
section
thickness
Prior art date
Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
Active
Application number
US17/016,986
Other languages
English (en)
Other versions
US20210090529A1 (en
Inventor
Frederick E. Greene
Timothy A. Teel
Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.)
Dreadnought Inc
Original Assignee
Dreadnought Inc
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Application filed by Dreadnought Inc filed Critical Dreadnought Inc
Assigned to DREADNOUGHT, INC. reassignment DREADNOUGHT, INC. ASSIGNMENT OF ASSIGNORS INTEREST (SEE DOCUMENT FOR DETAILS). Assignors: GREENE, FREDERICK E., TEEL, TIMOTHY A.
Priority to US17/016,986 priority Critical patent/US11217213B2/en
Priority to DE112020004490.4T priority patent/DE112020004490T5/de
Priority to KR1020227013643A priority patent/KR102758424B1/ko
Priority to PCT/US2020/051760 priority patent/WO2021061557A1/en
Priority to CN202080063478.2A priority patent/CN114375473A/zh
Priority to GB2203688.3A priority patent/GB2602580B/en
Priority to MX2022003505A priority patent/MX2022003505A/es
Publication of US20210090529A1 publication Critical patent/US20210090529A1/en
Publication of US11217213B2 publication Critical patent/US11217213B2/en
Application granted granted Critical
Active legal-status Critical Current
Anticipated expiration legal-status Critical

Links

Images

Classifications

    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; AEOLIAN HARPS; SINGING-FLAME MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
    • G10D1/00—General design of stringed musical instruments
    • G10D1/04—Plucked or strummed string instruments, e.g. harps or lyres
    • G10D1/05—Plucked or strummed string instruments, e.g. harps or lyres with fret boards or fingerboards
    • G10D1/08—Guitars
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; AEOLIAN HARPS; SINGING-FLAME MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
    • G10D3/00—Details of, or accessories for, stringed musical instruments, e.g. slide-bars
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; AEOLIAN HARPS; SINGING-FLAME MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
    • G10D3/00—Details of, or accessories for, stringed musical instruments, e.g. slide-bars
    • G10D3/02—Resonating means, horns or diaphragms
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; AEOLIAN HARPS; SINGING-FLAME MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
    • G10D3/00—Details of, or accessories for, stringed musical instruments, e.g. slide-bars
    • G10D3/06—Necks; Fingerboards, e.g. fret boards

Definitions

  • the present invention relates generally to the soundboard of a stringed musical instrument such as a guitar and, more specifically, to a soundboard that includes a partial taper recurve that follows an asymmetrical path.
  • chordophone instruments are musical instruments that make sound by way of a vibrating string or strings stretched between two points.
  • Chordophone instruments, and in particular stringed musical instruments are very popular worldwide because they are versatile and suited to different genres of music.
  • the most popular of the stringed musical instruments is probably the modern guitar, including both acoustic guitars which project sound acoustically and electric guitars which project sound through electrical amplification.
  • Conventional acoustic and electric guitars include a body and a neck that is attached to the body via a joint, with one or more elongate, flexible strings extending between the body and a distal end of the neck along a fretboard.
  • the terms “distal” or “distal end” are used to define the part or surface of an element which is positioned furthest from the user.
  • the body has a top surface called a soundboard, typically made from wood, that vibrates when the instrument is played.
  • soundboards are usually tapered or feathered to thin the soundboard near its peripheral edge to allow more (freer) movement by the soundboard relative to the side wall of the instrument.
  • the soundboard is tapered from its center to the periphery.
  • the process of tapering a soundboard is difficult and time consuming, however, and frequently requires hours of hand sanding by a skilled craftsman (a luthier) to form a taper at the edges of the soundboard which is not visually apparent (i.e., the surface of the soundboard preferably has a flat appearance). Errors in the tapering process can result in uneven tapering or undesirably thin portions which can lead to cracking and breaking.
  • one disadvantage associated with conventional soundboards is the difficult and time-consuming process of tapering a soundboard.
  • Another disadvantage associated with conventional soundboards is the high cost of tapering a high-quality instrument soundboard.
  • Yet another disadvantage associated with conventional soundboards involves the use of wood as a soundboard material. Wood soundboards tend to swell under humid conditions, causing changes in the visual appearance and tonal quality. In addition, cracking can occur in wood soundboards under dry conditions.
  • U.S. Pat. No. 6,759,581 issued to Taylor-Listug, Inc. and titled “Acoustic Stringed Instrument Body with Relief Cut” attempts to address the disadvantages highlighted above.
  • an acoustic stringed instrument body including a soundboard with a symmetrical relief cut around its periphery.
  • the relief cut is located on the exterior or interior surface of the soundboard close to the perimeter of that surface.
  • the relief cut may be in other locations, however, including closer to the sound hole.
  • the relief cut ostensibly forms a more flexible coupling between the soundboard and the sidewall of the instrument, which is represented to improve the tone of the instrument by allowing the soundboard to vibrate more freely.
  • the relief cut in the soundboard is also represented to permit stretching and contraction of the wooden soundboard due to changes in atmospheric conditions.
  • a dotted line 45 which follows the contour of the soundboard 30 is present inside of the perimeter of the soundboard 30 .
  • This dotted line 45 represents the general location of relief cuts 100 , 110 , 120 , 130 , 140 , and 150 , which are located on the soundboard 30 .
  • the cross-sectional area of the relief cut 100 may be varied along the soundboard 30 , and the relief cut 100 may also have differing shapes and dimensions.
  • the soundboard with relief cut disclosed by the '581 patent requires, however, that the soundboard return to its full thickness at the gluing surfaces of the soundboard and sides.
  • a soundboard that includes a partial taper recurve.
  • An object of the present disclosure is to achieve greater flexibility in strategic areas of the soundboard.
  • a related object is to produce a desired tonal effect for a musical instrument having a soundboard.
  • Another related object is to allow for tonal optimization based on the body shape of the musical instrument having the soundboard.
  • Yet another object is to target specific regions of the soundboard to maximize the desired tonal effect.
  • the present disclosure provides a soundboard for a musical instrument having a body, a rear plate, and a lateral plate, with the soundboard, the rear plate, and the lateral plate defining a sound chamber for the musical instrument.
  • the soundboard extends along a longitudinal axis and has a thickness.
  • the soundboard also has a partial taper recurve asymmetrically disposed around the longitudinal axis.
  • the recurve includes a first recurve section that forms a downward ramp which starts flush with the thickness of the soundboard, a second recurve section that defines the full depth of the partial taper recurve, and a third recurve section that forms an upward ramp which ends flush with the thickness of the soundboard.
  • a musical instrument comprising the soundboard.
  • the musical instrument may be a guitar.
  • FIG. 1 is a diagrammatic perspective view of a conventional guitar
  • FIG. 2 is a diagrammatic side view of the guitar illustrated in FIG. 1 ;
  • FIG. 3 is a perspective view of a guitar highlighting the kerfed lining
  • FIG. 4 is a perspective view of the bottom or inside surface of the soundboard highlighting the partial taper soundboard recurve;
  • FIG. 5 is a bottom view of the soundboard shown in FIG. 4 ;
  • FIG. 5A is a cross-sectional view, along the line 5 A- 5 A of FIG. 5 , illustrating the edge of the first recurve section of the recurve;
  • FIG. 5B is a cross-sectional view, along the line 5 B- 5 B of FIG. 5 , illustrating the edge of the second recurve section of the recurve;
  • FIG. 5C is a cross-sectional view, along the line 5 C- 5 C of FIG. 5 , illustrating the edge of the third recurve section of the recurve;
  • FIG. 6 is a bottom view of the soundboard shown in FIGS. 4 and 5 , highlighting certain dimensions of the recurve.
  • FIG. 7 illustrates just one example of bracing suitable for the soundboard of the guitar.
  • the stringed musical instruments in accordance with the present invention may include guitars, such as acoustic guitars, solid body electric guitars, and acoustic electric guitars, but may also include other stringed musical instruments such as, for example, banjos, mandolins, violins, lutes, and/or other similar instruments.
  • guitars such as acoustic guitars, solid body electric guitars, and acoustic electric guitars
  • other stringed musical instruments such as, for example, banjos, mandolins, violins, lutes, and/or other similar instruments.
  • the guitar 1 has a guitar body 2 connected to a neck 4 in a conventional manner.
  • the body 2 is comprised of a front plate 18 a having a circular sound hole 28 , a rear plate 18 b facing the front plate 18 a , and a lateral plate 18 c combined with edges of the front plate 18 a and the rear plate 18 b in a way to be spaced apart from each other. Sound resonance is generated in the internal space formed by the front plate 18 a , the rear plate 18 b , and the lateral plate 18 c .
  • formed in one side of the body 2 is an aperture into which the neck 4 is inserted.
  • the neck 4 takes the form of a beam 3 having a considerable thickness with a top surface 5 a and a bottom surface 5 b .
  • the neck 4 typically comprises a wood or some other similar or conventional material, which is suitable to withstand continual string pull without warping or twisting.
  • the neck 4 has an integral headstock 6 which holds a number of separate tuning pegs 8 (typically six or possibly twelve tuning pegs) which each, in turn, respectively retain a free end of a desired string 10 in a conventional manner.
  • the strings 10 are strung at substantial tension (e.g., about 30 pounds of tension per string) and extend from a first fixed point or axis 12 , formed by a saddle 14 supported by a bridge 16 which is permanently affixed to the front plate 18 a of the guitar body 2 , to a second fixed axis 20 , formed by a nut 22 which is permanently affixed to the top surface 5 a of the neck 4 , located adjacent the headstock 6 .
  • an adjustment rod (not shown) for preventing the neck 4 from bending or being distorted by the tension force of the guitar strings 10 .
  • a fingerboard (also known as a fretboard 24 on fretted instruments) is an important component of most stringed instruments.
  • the fretboard 24 is a thin, long strip of hard material, usually a re-enforced polymer or wood such as rosewood or ebony, that mates with and is formed on the top surface 5 a of the neck 4 so as to be located between and space a remainder of the neck 4 from the strings 10 .
  • the material from which the fretboard 24 is manufactured should be strong, durable, and stable enough to support and retain the metal frets 9 , which are installed on top of the fretboard 24 at regular intervals, and withstand playing wear through years of use.
  • the strings 10 run over the fretboard 24 between the nut 22 and the bridge 16 .
  • a heel 26 is formed integrally with a remainder of the neck 4 and extends from the bottom surface 5 b of the neck 4 .
  • integral is meant a single piece or a single unitary part that is complete by itself without additional pieces, i.e., the part is of one monolithic piece formed as a unit with another part.
  • the upper bout 30 is the part of the guitar body 2 that is nearest the neck 4 ; the upper bout 30 extends approximately from the top of the body 2 to the middle of the sound hole 28 .
  • the lower bout 32 is the largest part of the guitar body 2 that is nearest to the string termination at the bridge 16 ; the lower bout 32 extends approximately from the middle of the sound hole 28 to the bottom of the body 2 .
  • the guitar 1 can include a kerfed lining 34 at the junction between the front plate 18 a and the lateral plate 18 c and at the junction between the rear plate 18 b (not shown in FIG. 3 ) and the lateral plate 18 c .
  • the process of “kerfing” the guitar 1 forms a surface for gluing and reinforcing the front plate 18 a , the rear plate 18 b , and the lateral plate 18 c of the guitar 1 .
  • Each lining 34 is kerfed (slotted) to allow easy bending to fit the curved components of the guitar 1 .
  • the musician moves his or her fingers up and down the neck 4 , pressing the strings 10 so as to shorten them and create various pitches as the strings 10 are strummed, plucked, or otherwise excited.
  • the frets 9 on the fretboard 24 extend across the width of the neck 4 so as to provide a place to anchor the ends of the shortened strings 10 at definite or desired locations.
  • the strings 10 are tuned to pitch at the top of the neck 4 or headstock 6 where the tuning pegs 8 increase or decrease the tension on each string 10 .
  • the user then renders the desired notes by strumming the strings 10 near the middle of the guitar body 2 while pressing the strings 10 which extend over the neck 4 onto the fretboard 24 attached to the top surface 5 a of the neck 4 .
  • the tone of the note produced depends on the tension of the string 10 and the distance between the fret 9 at which the string 10 is depressed onto the neck 4 and the lower anchor point. The smaller the distance between the depressed string 10 and the bridge 16 , the higher pitch the resulting tone will be. Increasing the tension of the strings 10 will also produce a note with a higher pitch.
  • the body 2 encloses a resonant sound chamber. Strumming, plucking, or otherwise exciting the strings 10 causes the strings 10 to vibrate. This vibration in turn causes the bridge 16 over which the strings 10 extend to vibrate. In fact, the bridge 16 forms the vibrating end point of the strings 10 for every note that is played. Vibration of the bridge 16 in turn causes the front plate 18 a of the acoustic instrument, known as the soundboard, to vibrate as well, which in turn causes air entrapped in the sound chamber to move to generate the sound heard through the sound hole 28 upon play of the instrument.
  • the vibration of the soundboard 18 a greatly influences the tone of the guitar 1 . As a general rule, the more freely the soundboard 18 a can vibrate, the louder and better the tone of the guitar 1 .
  • FIG. 4 is a perspective view of the bottom or inside surface of the soundboard 18 a , which is the surface of the soundboard 18 a that helps to define the sound chamber.
  • the soundboard 18 a has a partial taper soundboard recurve 50 located on that inside surface.
  • FIG. 5 is a bottom view of the soundboard 18 a .
  • the recurve 50 can be manufactured in a number of different ways. Mechanical cutting and abrasive removal using an abrasive wheel are two example manufacturing processes, as would be known to an artisan.
  • the recurve 50 of the soundboard 18 a starts at or near (i.e., proximate) the terminus of the treble side X-brace at a point 60 and extends to or near (i.e., proximate) a point 62 just below the bass side waist.
  • the recurve 50 is asymmetrical about a longitudinal axis A of the body 2 and, because it forms part of the body 2 , of the soundboard 18 a .
  • the recurve 50 includes three, main components: a first recurve section 52 , an intermediate or second recurve section 54 , and a third recurve section 56 .
  • the first recurve section 52 which defines the start of the recurve 50 , forms a downward ramp which starts flush with the original thickness of the soundboard 18 a .
  • the first recurve section 52 forms a first dimension 64 that defines a six-inch (15.25 cm) ramp cut out of the lower bout perimeter of the back side to the level of the soundboard 18 a .
  • FIG. 5A is a cross-sectional view, along the line 5 A- 5 A of FIG. 5 , illustrating the edge of the first recurve section 52 .
  • FIG. 5B is a cross-sectional view, along the line 5 B- 5 B of FIG. 5 , illustrating the edge of the second recurve section 54 .
  • FIG. 5B also illustrates an example edge thickness 72 , which may be about 0.070 inches (0.18 cm).
  • the transition between the second recurve section 54 and the third recurve section 56 is formed, in the illustrated example, by a second 1.5-inch (3.8 cm) radius corner blend 74 cut along the undercut.
  • the third recurve section 56 which defines the end of the recurve 50 , forms an upward ramp which ends flush with the original thickness of the soundboard 18 a .
  • the third recurve section 56 forms a second dimension 66 that defines a six-inch (15.25 cm) ramp cut into the lower bout back side of the soundboard 18 a to a depth of about 0.050 inches (0.125 cm).
  • FIG. 5C is a cross-sectional view, along the line 5 C- 5 C of FIG. 5 , illustrating the edge of the third recurve section 56 .
  • FIG. 5B illustrates the second radius corner blend 74 and an example edge thickness 76 (which approximates the full thickness of the soundboard 18 a ) for the third recurve section 56 .
  • the precise geometry of the recurve 50 can be adjusted, in combination with (among other structural characteristics of the guitar 1 ) the bracing that is also located on the bottom of the soundboard 18 a , to achieve desired tonal qualities.
  • Guitar bracing refers to the system of struts (typically wooden) that internally support and reinforce the soundboard 18 a and back or rear plate 18 b of acoustic guitars. Bracing of the soundboard 18 a (or top bracing) transmits the forces exerted by the strings 10 from the bridge 16 to the rim or lateral plate 18 c .
  • the luthier faces the challenge of bracing the guitar 1 to withstand the stress applied by the strings 10 with minimal distortion, while permitting the soundboard 18 a to respond as fully as possible to the tones generated by the strings 10 .
  • Brace design contributes significantly to the type of sound the guitar 1 will produce.
  • the rear plate 18 b of the guitar 1 is braced to help distribute the force exerted by the neck 4 on the body 2 , and to maintain the tonal responsiveness and structural integrity of the sound box.
  • Braces may be made from top woods (spruce or cedar), balsa wood or, in certain instruments, carbon fiber composites.
  • FIG. 7 illustrates just one example of bracing suitable for the soundboard 18 a of the guitar 1 .
  • the soundboard 18 a is braced using the X-brace system, or a variation of the X-brace system, generally attributed to Christian Frederick Martin between 1840 and 1845 for use in gut string guitars.
  • the system consists of two braces 80 , 82 forming an “X” shape across the soundboard 18 a below the top of the sound hole 28 .
  • the lower arms of the “X” straddle and support the ends of the bridge 16 .
  • Under the bridge 16 is a bridge patch 84 (typically hardwood) which prevents the ball end of the strings 10 from damaging the underside of the soundboard 18 a .
  • tone bars 86 which support the bottom of the soundboard 18 a .
  • the tone bars 86 abut one of the X braces, for example the X-brace 80 , and usually slant down towards the bottom edge of the soundboard 18 a .
  • the top tone bar 86 butts against a portion of the bridge patch 84 in most instruments.
  • angled braces 88 that vertically span the horizontal transition between the upper bout 30 and the lower bout 32 of the soundboard 18 a .
  • small finger braces 90 support the area between the X-braces 80 , 82 and the edge of the soundboard 18 a.
  • the acoustic stringed instrument body 2 having the soundboard 18 a with the partial taper soundboard recurve 50 features an asymmetrical recurve 50 that starts and ends flush with the original thickness of the soundboard 18 a .
  • the partial soundboard taper recurve 50 extends from inside the body perimeter past the kerfed lining 34 to the edge of the stringed instrument side. (In alternative embodiments, however, the recurve 50 might be applied to areas of the interior or bottom of the soundboard 18 a that would not extend to the edge of the soundboard 18 a .)
  • the recurve 50 extends to the very edge of the body 2 and attaches to the rim defined by the lateral plate 18 c of the guitar 1 .
  • variable width of the partial taper soundboard recurve 50 allows for tonal optimization based on body style.
  • the partial taper soundboard recurve 50 ramps to its full depth over a variable distance and ramps back up over a variable distance, the lengths of which may be optimized for specific stringed musical instruments.
  • the guitar body 2 is typically made of wood. According to other embodiments, however, the guitar body 2 may be made of plastic, graphite, or other appropriate materials.
  • the partial taper soundboard recurve 50 is applicable to wood materials as well as alternative materials including, but not limited to composite, carbon fiber, and laminate, and could be formed directly into such materials without necessitating any type of cut.
  • the soundboard 18 a with the partial taper soundboard recurve 50 when glued to a normally sanded stringed instrument rim will display a slight downward slanting arch (relative to the torsion of the stringed instrument bridge 16 ) which is strong and stable.
  • the partial taper recurve 50 follows an asymmetrical path, resulting in a thinned tapered edge toward the gluing surfaces which coves back to full depth toward the middle of the soundboard 18 a .
  • the partial taper recurve 50 results in greater flexibility in strategic areas of the soundboard 18 a to produce a desired tonal effect.
  • the recurve 50 achieves an improvement in tonal response in comparison to conventionally built acoustic stringed instruments.
  • the recurve 50 can be discretely applied to different acoustic stringed instrument body shapes and bracing styles. Unlike the soundboard with a relief cut known in the art, which requires that the soundboard of the instrument return to its full thickness at the gluing surfaces of the soundboard and sides, the recurve 50 allows the soundboard 18 a to retain its altered depth to the complete edge in the areas needed for the optimal tonal response.
  • the known soundboard with a relief cut affects changes only in the internal geometry of the acoustic stringed instrument; the partial taper soundboard recurve 50 changes the overall external dimensions of the acoustic stringed instrument in such a way that slight arching is induced in key areas to mitigate soundboard deformation when string tension is applied. Therefore, the acoustic stringed instrument body 2 having the soundboard 18 a with the partial taper soundboard recurve 50 affects both the interior and exterior of an acoustic stringed instrument soundboard top and/or back.
  • a visual advantage is that the soundboard 18 a still looks like a traditional flattop guitar because the asymmetrical recurve 50 is on the bottom or inside surface of the soundboard 18 a.
  • the partial taper soundboard recurve 50 allows for the selection of the width and position of the relieved areas. Still another advantage is that the recurve 50 targets specific regions of the soundboard 18 a to maximize the desired tonal effect.
  • the variable width of the partial taper soundboard recurve 50 allows for tonal optimization based on body shape.

Landscapes

  • Physics & Mathematics (AREA)
  • Engineering & Computer Science (AREA)
  • Acoustics & Sound (AREA)
  • Multimedia (AREA)
  • Stringed Musical Instruments (AREA)
US17/016,986 2019-09-23 2020-09-10 Acoustic stringed instrument body with partial taper soundboard recurve Active US11217213B2 (en)

Priority Applications (7)

Application Number Priority Date Filing Date Title
US17/016,986 US11217213B2 (en) 2019-09-23 2020-09-10 Acoustic stringed instrument body with partial taper soundboard recurve
CN202080063478.2A CN114375473A (zh) 2019-09-23 2020-09-21 具有部分锥形音板反曲部的原声弦乐器主体
KR1020227013643A KR102758424B1 (ko) 2019-09-23 2020-09-21 부분 테이퍼 사운드보드 리커브를 갖는 음향 현악기 본체
PCT/US2020/051760 WO2021061557A1 (en) 2019-09-23 2020-09-21 Acoustic stringed instrument body with partial taper soundboard recurve
DE112020004490.4T DE112020004490T5 (de) 2019-09-23 2020-09-21 Korpus für akustische saiteninstrumente mit teilweiser verjüngung derresonanzbodenbiegung
GB2203688.3A GB2602580B (en) 2019-09-23 2020-09-21 Acoustic stringed instrument body with partial taper soundboard recurve
MX2022003505A MX2022003505A (es) 2019-09-23 2020-09-21 Cuerpo de instrumento acustico de cuerdas con recurva de caja sonora de conicidad parcial.

Applications Claiming Priority (2)

Application Number Priority Date Filing Date Title
US201962904196P 2019-09-23 2019-09-23
US17/016,986 US11217213B2 (en) 2019-09-23 2020-09-10 Acoustic stringed instrument body with partial taper soundboard recurve

Publications (2)

Publication Number Publication Date
US20210090529A1 US20210090529A1 (en) 2021-03-25
US11217213B2 true US11217213B2 (en) 2022-01-04

Family

ID=74881117

Family Applications (1)

Application Number Title Priority Date Filing Date
US17/016,986 Active US11217213B2 (en) 2019-09-23 2020-09-10 Acoustic stringed instrument body with partial taper soundboard recurve

Country Status (7)

Country Link
US (1) US11217213B2 (zh)
KR (1) KR102758424B1 (zh)
CN (1) CN114375473A (zh)
DE (1) DE112020004490T5 (zh)
GB (1) GB2602580B (zh)
MX (1) MX2022003505A (zh)
WO (1) WO2021061557A1 (zh)

Cited By (1)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US20230146110A1 (en) * 2021-10-21 2023-05-11 The Board Of Trustees Of The University Of Alabama Friction based additive manufacturing systems and methods

Citations (12)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US1361182A (en) * 1917-04-28 1920-12-07 Gibson Mandolin Guitar Co Stringed musical instrument
US2070391A (en) * 1936-03-07 1937-02-09 Steinway & Sons Soundboard for pianos
US3443466A (en) 1965-11-16 1969-05-13 Raymond Brakewell Box containers and the like
US3561314A (en) 1968-08-19 1971-02-09 Lendrum A Maceachron Dulcimer
US3656395A (en) * 1970-06-08 1972-04-18 Kaman Corp Guitar construction
US5320018A (en) 1993-01-12 1994-06-14 Fandrich Delwin D Sound board assembly comprising a cut-off bar having an acoustically free end
US6177622B1 (en) 1998-10-27 2001-01-23 Matthew Daniel Green Bowed stringed instrument protector and method for using same
US6759581B2 (en) 2002-09-30 2004-07-06 Taylor-Listug, Inc. Acoustic stringed instrument body with relief cut
US6852916B1 (en) * 1999-08-26 2005-02-08 Andre Burguete Lute
US10546562B1 (en) * 2019-02-13 2020-01-28 Joel Baldevarona Adjustable feedback control device for acoustic guitar
US20200111457A1 (en) * 2018-09-17 2020-04-09 Klos Innovations, Llc Systems and Methods for Improved Composite Sound Board
US10777172B1 (en) * 2019-06-04 2020-09-15 Joseph J. Katzenberger Folded horn acoustic guitar

Family Cites Families (2)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
GB0509684D0 (en) * 2005-05-12 2005-06-15 Hearn Gary A brace for a musical instrument
WO2010148431A1 (en) * 2009-06-24 2010-12-29 Australian Native Musical Instruments Pty Ltd Soundboard for stringed musical instruments

Patent Citations (12)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US1361182A (en) * 1917-04-28 1920-12-07 Gibson Mandolin Guitar Co Stringed musical instrument
US2070391A (en) * 1936-03-07 1937-02-09 Steinway & Sons Soundboard for pianos
US3443466A (en) 1965-11-16 1969-05-13 Raymond Brakewell Box containers and the like
US3561314A (en) 1968-08-19 1971-02-09 Lendrum A Maceachron Dulcimer
US3656395A (en) * 1970-06-08 1972-04-18 Kaman Corp Guitar construction
US5320018A (en) 1993-01-12 1994-06-14 Fandrich Delwin D Sound board assembly comprising a cut-off bar having an acoustically free end
US6177622B1 (en) 1998-10-27 2001-01-23 Matthew Daniel Green Bowed stringed instrument protector and method for using same
US6852916B1 (en) * 1999-08-26 2005-02-08 Andre Burguete Lute
US6759581B2 (en) 2002-09-30 2004-07-06 Taylor-Listug, Inc. Acoustic stringed instrument body with relief cut
US20200111457A1 (en) * 2018-09-17 2020-04-09 Klos Innovations, Llc Systems and Methods for Improved Composite Sound Board
US10546562B1 (en) * 2019-02-13 2020-01-28 Joel Baldevarona Adjustable feedback control device for acoustic guitar
US10777172B1 (en) * 2019-06-04 2020-09-15 Joseph J. Katzenberger Folded horn acoustic guitar

Cited By (1)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US20230146110A1 (en) * 2021-10-21 2023-05-11 The Board Of Trustees Of The University Of Alabama Friction based additive manufacturing systems and methods

Also Published As

Publication number Publication date
US20210090529A1 (en) 2021-03-25
DE112020004490T5 (de) 2022-06-23
GB202203688D0 (en) 2022-05-04
GB2602580A (en) 2022-07-06
KR102758424B1 (ko) 2025-01-21
WO2021061557A1 (en) 2021-04-01
KR20220066159A (ko) 2022-05-23
GB2602580B (en) 2023-08-30
MX2022003505A (es) 2022-04-25
CN114375473A (zh) 2022-04-19

Similar Documents

Publication Publication Date Title
US7579532B2 (en) String musical instrument
US8987568B1 (en) Fuccion
US3481238A (en) Stringed musical instrument
US8207432B2 (en) Acoustic and semi-acoustic stringed instruments having a neck-to-body junction
US6284957B1 (en) Carbon fiber cello
US11217213B2 (en) Acoustic stringed instrument body with partial taper soundboard recurve
US6693233B1 (en) Neckless lap guitar
US7211719B2 (en) Stringed instrument
US20060150797A1 (en) Stringed musical instrument with multiple bridge-soundboard units
US6759581B2 (en) Acoustic stringed instrument body with relief cut
US3523479A (en) Shell violin with floating sound board
US8648237B1 (en) Mandolin with integrated armrest
US20120291608A1 (en) Banjo bridge base plate
US6667431B1 (en) Stringed instrument
US11763782B2 (en) Bowed instrument
JP2018163332A (ja) ブリッジ、弦楽器
US6777601B1 (en) Stringed musical instrument soundboard system
TWI869384B (zh) 弓弦樂器
US3564964A (en) Stringed musical instrument improvements
US9852719B2 (en) Stringed instrument
US11257470B1 (en) String instrument with superior tonal qualities
US7411120B2 (en) Stringed instrument with offset structure
US4238986A (en) Method for altering tonal characteristics of a stringed musical instrument
US10127895B2 (en) Contoured banjo bridge
US598245A (en) Mandolin

Legal Events

Date Code Title Description
AS Assignment

Owner name: DREADNOUGHT, INC., DELAWARE

Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNORS:GREENE, FREDERICK E.;TEEL, TIMOTHY A.;REEL/FRAME:053735/0787

Effective date: 20200909

FEPP Fee payment procedure

Free format text: ENTITY STATUS SET TO UNDISCOUNTED (ORIGINAL EVENT CODE: BIG.); ENTITY STATUS OF PATENT OWNER: LARGE ENTITY

STPP Information on status: patent application and granting procedure in general

Free format text: DOCKETED NEW CASE - READY FOR EXAMINATION

STPP Information on status: patent application and granting procedure in general

Free format text: NON FINAL ACTION MAILED

STPP Information on status: patent application and granting procedure in general

Free format text: RESPONSE TO NON-FINAL OFFICE ACTION ENTERED AND FORWARDED TO EXAMINER

STPP Information on status: patent application and granting procedure in general

Free format text: NOTICE OF ALLOWANCE MAILED -- APPLICATION RECEIVED IN OFFICE OF PUBLICATIONS

STPP Information on status: patent application and granting procedure in general

Free format text: PUBLICATIONS -- ISSUE FEE PAYMENT VERIFIED

STCF Information on status: patent grant

Free format text: PATENTED CASE